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Cantar-X User Manual v2.26 (r13) 2009 April 27
p.45
p.45
The boom and RF mics
The boom, connected to M5, is directly routed to T7 (see
Create T7T8 IN-GRIDS
, p.28). The RF-mics, routed to T1–T6
(panned to the right), go to miXb on T8.
Proper Mixing
The following communication, sent to the Cantar User’s
Group by Marc Weber, is a must read:
Date: Sat, 3 May 2008
To: Cantar Users’ Group <[email protected]>
Subject: Proper mixing
Are you all saying that we should not be mixing just because
we are providing isolated tracks on mono files?
As a mixer it is my assumption that my job is to mix so that
phase anomalies are not occurring and mixing out unwanted
open mics so that a useful production mix is always present
and if post wants isolated mic tracks then that is what I de-
liver on top of the mix.
What am I missing here?
Phase interferences are only audible at specific relationships
between pairs of microphones and at a specific balance
between them, usually a 50/50 balance as with boom and
radio mic. If three mics are open, the phase interference is
a result of only one of those mics in reference to the other
two.
Assuming I am mixing to a mono track with one boom and
one radio and at a certain point there is phasing, I would be
rocking the mix back and forth favoring either the boom or
radio. If the phasing occurs when both mics are at unity then
I never allow unity to occur.
As a wired actor walks into a room and comes forward ap-
proaching a boom mic, I would be favoring the radio until
the actor steps into the sweet spot of the boom at which
point I would crossfade, potting down the radio as I pot up
the boom.
This does not necessarily mean that I completely turn off
either mic at any time but only prevent the 50/50 balance
of the two from occurring, or maybe once the actor reaches
the boom sweet spot and stays there for the rest of the take
then perhaps I slowly fade out the radio mic completely, to
prevent clothing rustle or some other physical noise.
Same thing if mixing two actors on radios with no boom
and as they turn to face each other there is a phasing tak-
ing place between them, then I would be crossfading the
balance between them back and forth favoring the mic of
the actor that is speaking, again never allowing the 50/50
balance to occur but always keeping both mics open un-
less some action creates a problem like someone pounding
themselves on the chest where the mic is placed. Always
60/40 or 75/25 or whatever works. Maybe as the two
actors stand very close to each other one of their mics may
work to cover both of them.
Now if mixing to two tracks and splitting boom away from
the radios then I monitor the split track mix in mono and do
all the same things as mentioned above so that if the two
tracks are summed together by telecine for dailies or else-
where in post the resulting mono mix works perfectly.
I hate to allow post the opportunity to screw up my mixes so
I always try not to give them the option. If there is no reason
to split tracks then I do not do it.
Mark Weber C.A.S.
Sound Specialist Inc.
Miami, Florida
TUTORIAL 3
ONBOARD MIXER [2]
